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A range of reverbs
The Empress Effects Reverb contains 24 algorithm reverbs in high quality stereo. This versatile unit is full of features and can be adapted to most musical genres. It is compatible with MIDI and also features an SD card input for saving your unique tones. Housed in a die cast aluminium shell with three footswitches, it is a worthwhile investment.
Hall reverb usually refers to the Reverb in a concert hall and is modelled from a large and fairly reflective space. It's typically used at longer decay times in the two or more seconds range. Hall reverbs generally have more muted high frequency compared to other reverbs, which leads to a smooth warm sound. Because the room size is large, the early reflections are slower to arrive, and are very pronounced before the tail becomes diffuse.
Plate reverbs were originally created from an electro-mechanical device that vibrates a large sheet of metal to create reverb sounds. At one end is a driver that vibrates the metal, and at the other end a transducer that captures the vibration of the plate and turns it back into an electrical audio signal. The decay times could be controlled by applying damping to the different sections of the plate. The sound quality of this feature is superb.
Spring Reverb units are little tanks that suspend springs between a driver and a transducer. They typically sit in the base of your amplifier. A driver circuit uses a coil and magnet to vibrate the springs, which creates reverberation. Like the plate reverb previously mentioned, a receiver circuit at the other end of the springs converts the mechanical vibration back to an electrical audio signal. The sound varies depending on the amount of springs, the spring tension, and how much the signal is being driven. The electronics at the driver and receiving end can play a huge part in the tone of the sound. The decay can last up to 3 or 4 seconds. Spring reverb is a classic sound for guitar players due to its discrete delay-like reflections which are prominent in the response.
Like with other reverbs, the Room reverb is based on a physical space. It usually has a shorter decay which depends on the size of the room, and the amount of absorptive materials on the walls. Because we spend most of our lives in small or medium sized rooms, it's a very natural sounding reverb. The key to a realistic sound are the dense early reflections. These are the first reflections from the floor, walls or ceiling that arrive to the ears after the direct sound. They're instrumental in creating the sense of size and space. It is an ideal choice for subtle applications and at shorter times.
The sparkle reverb is created by an octave effect that's fed into a large sounding tail. The octave is a little bit slow to build, and it goes higher and higher in pitch as time goes by. This creates a very airy and open sound. This mode adds a lushness and surreal element to the sound and is perfect with slower legato playing.
In the modulated reverb tail, there is modulation applied to each of the delay lines so you get a similar sound, but you don't hear the distinct chorus pulse because there's so many going on at once, which leads to a sound that's warm and smooth. This mode will work on a variety of playing styles and parts.
The ambient swell mode detects either breaks in your playing or use trigger detection to detect note starts, then they apply a smooth adjustable fade-in. This mode works well at 100 percent wet and at long decay times.
Delay and reverb
This classic combo is a must-have for any guitarist. These tones are renowned for featuring on '80s recordings, and add a versatile feature to the pedal.
Reverse & ghost
Reverse is a great tool for fading into songs or solos, as it gives it a dramatic approach. The ghost mode adds a really smooth and spooky layer behind your dry playing. The tail is made up of a lot of resonant and modulated elements that meld together to create a really unique sound. The hi and low filters sound really great when you have them on the move with the resonance up. The resonance control and decay work together to shape the tone and length of the decay.
Whilst using the Lo-fi mode, the dry signal gets effected with some raunchy filtering and distortion along with the wet, giving you a complete lo-fi signal. The reverb tails aren't meant to be smooth. You'll hear some grainy discrete delays rattling around in there which make it ideal for intros or bridges where you want to switch things up.
Input Impedance: 1Mohm
- Output Impedance: 100ohms
- Output Impedance (transformer): 600ohms
- Frequency Response (-3dB, dry) : 10Hz – 50kHz
- Frequency Response (-3dB, wet) : 10Hz – 23.4kHz
- Total Harmonic Distortion (dry): 0.09
- Total Harmonic Distortion (wet): 0.22
- Dynamic Range (dry): 106.9 dBA
- Dynamic Range (wet): 105.5 dBA
- Input Headroom (dry): +10.0 dBu
- Input Headroom (wet, no pad): +0.5 dBu
- Input Headroom (wet, 6dB pad): +5.7 dBu
- Input Headroom (wet, 12dB pad): +10.8 dBu
- Output Headroom: +16.2dBu
- Power Input Connector: 2.1mm Barrel Connector
- Required Current: 300mA
- Height (enclosure only): 1.75”
- Height (including controls): 2.25”
- Length: 5.7”
- Width: 3.75”
- Weight: 1.5lbs